3.a The concept of wrapping: origata and
tsutsumi

There are many techniques and schools for wrapping, but basically
Origata[9], or the art of
gift-wrapping, is the action of folding paper without cutting it. The complexity
of the rules of wrapping and the techniques of origata, though important, are
not the subject of this thesis. I mainly focus on the social and ritual uses of
wrapping rather than the techniques of folding. Japanese people elaborate on the
fact that gifts must not be unwrapped in front of the donor of the gift.
Wrapping, however, is not a synonym for sealing, concealing a gift, or creating
surprise. Japanese ritual wrapping tends both to exhibit the contents of the
gift, and to add a touch of ‘gentle concealment’ (Ekiguchi 1985: 6).

Many authors have noted that the concept of wrapping (tsutsumi) is
not limited to the notion of packaging. Ekiguchi (1985) has argued that
tsutusmi encompasses the ideas of wrapping the space, the self and the
supernatural (1985: 6) These authors seem to agree that the most fundamental
aspect of wrapping in Japan is that it defines the happiness or sadness of the
occasions. Auspicious or inauspicious colours are used to design the paper and
wrapping cloths for gifts and people. Ekiguchi conveys the importance of
wrapping papers and symbolic colours and their relation to auspiciousness and
inauspiciousness, in his statement that:

wrapping in (white washi or Japanese paper) is analogous to a kind of
pledge that the contents were protected from all impurities. The fact that
washi, once creased, will hold the crease forever has also come to symbolise
this seal against impurities (...) white paper is used because white is the
colour of gods, and therefore, is free of all contamination (1994: 6). Red
indicates human life and vitality (Ekiguchi 1994: 6), and according to most
informants it is an indication of health and fortune.

Barthes argues that Japanese wrapping postpones the discovery of the
object, which to him is insignificant. Wrapping is a luxury of signs. The object
of the gift is the wrapping and not what is contained within it (Barthes 1970:
66). Hendry also argues that Japanese wrap not only objects but language (in
politeness), the body (in clothing and tattooing), space (in layering rooms) and
human relations (inclusiveness in groups) (Hendry 1993: 14, 1997: 627). The
point these authors seem to make is that Japanese wrapping ‘nicely breaks
down the material/non-material divide we are prone to make’ (Hendry 1993:
172).